Here's another rare soundtrack for your aural enjoyment. I snapped this one up in the late 80s and often grooved to it but never knew anything about it or Jerry Cotton or Peter Thomas. Then the lounge fad of the mid-to-late-90s struck and I recognised Thomas' name on some comps and picked up a bit of info thanks to liner notes. What with the advance of the intertubes at the turn of the century, I finally learned a lot about the man and also found out this is a highly collectible piece of vinyl and seems to sell for at least $100. Although there have been many reissues of Thomas material, contrary to the claims of Crippled Dick Hotwax for their 100% Cotton compilation, the track "Manhattan Inn" on this LP does not appear anywhere else so it's another Soundological exclusive.
Wikipedia bio Peter Thomas is a German composer/arranger. He was born in Breslau (Silesia) on December 1st, 1925, and his active career spanned more than 50 years between 1955 and 2006. He is known for his TV and film soundtracks (such as 'Raumpatrouille', the Edgar Wallace movies film series, and the Jerry Cotton film series). The restored Brandenburg Gate in Berlin was re-opened in 2002 with a live version of the main theme of the "Raumpatrouille" soundtrack. In the first direction of actor George Clooney, Confessions of a Dangerous Mind (2002), he used three tracks of Peter Thomas' music for German Edgar Wallace movies of the 1960s in their original mono versions. For some of his exceptional scores Thomas used a self-developed musical instrument called "ThoWiephon," (Ed: according to the liner notes for Futuremusik - available over at The Deuce Project: Science Fiction Radio - the CIA adopted some of Thomas' design principles for sub-sonic weaponry use) today being exhibited in the "Deutsche Museum" in Munich, standing near the famous Theremin, also being used in many movies.
AMG Bio by John Bush Practically uncontested as the original German electro-lounge pioneer, Peter Thomas fused the spy-string paranoia of John Barry with Carnaby Street go-go music and lounge on his recordings for several German sci-fi series of the 1960s, including Raumpatrouille (Space Patrol) and Der Bann von dem Sinister (The Spell of the Sinister One). His Sound Orchestra was also the beginning for another notable producer, Giorgio Moroder. Long neglected during the 1970s, '80s and '90s, Thomas experienced a revival of sorts in the late '90s. After Bungalow Records and City Slang reissued a Raumpatrouille collection in 1996, Pulp sampled a track to create the title song for their album 1997 This Is Hardcore. Two Thomas collections appeared in 1998, Tanzmusik of general interest and 100% Cotton which recycled Thomas' soundtrack material for the series of Jerry Cotton films (Cotton was the German equivalent of James Bond). The inevitable remix album Warp Back to Earth appeared in early 1999.
As well as the two collections linked to in the above bio, the inimitable It's Coming Out Of Your Speaker also has Moonflowers & Miniskirts up for your listening pleasure.
1 Caught at Midnight 2 My Friend Phil 3 French Girl in Manhattan 4 Party Is Over 5 Super Man 6 Jewellery Party 7 Crime Doesn't Pay 8 Jerry Cotton March 9 Love Is Swingin' In The Air 10 Jerry 1967 11 Two Voices Blues 12 Take It Jerry! 13 Manhattan Inn* 14 Big Troubles 15 Cotton Beat
*From "Der Mörderclub von Brooklyn" soundtrack; not included in the 100% Cotton collection released by Crippled Dick Hotwax in 1998.
Soundological has some Cotton pickin's for you HERE or HERE.
PAUL BAILLARGEON Love In A 4 Letter World OST 1970
69.9 MB 256+ VBR LAME mp3 Vinyl rip & scans from Gap Records APSE. 1051
Very rare and highly sought-after soundtrack with touches of Moog, psych, fuk, latin and breaks galore. As well as other Canadian TV and indie films throughout the 70s and 80s, Paul Baillargeon would go on to compose the soundtracks for Star Trek Voyager, Enterprise and Deep Space Nine. He was also highly involved in the Québécois music scene in general and has many credits for French artists such as JP Ferland, Ginette Reno and Celine Dion.
There's a good bio on PB ici for those of you who can read French, otherwise Google's translation into English is available here. This album was also released in Québéc with the title Viens, Mon Amour. Psychébélique has a nice write-up on the LP (en Français) with a couple preview tracks - "Harizap" and "Moog-Over" (a.k.a. "Sans Raison") - plus a couple dope mid-70s Baillargeon tracks from 7" 45s as a sweet little bonus.
Popsike cache of eBay sale 2006-12-10 (USD $124) review
I wonder what this movie is like, because the soundtrack is an insane MONSTER! No less than four funk tracks with huge drums and open breaks. Crazy psychy Moog tracks, a lovely soft rock scat vocal number called “Susan’s Ride” and a spot-on bossa nova groover called “Felicia-Nova.” The track “Cut-Out” is a funky killer, with the sharpest, punchiest drum sound ever and a really nice break. This is a beast, and really tough to track down. Apparently, there is another pressing of this on GAP entitled “Viens, Mon Amour” for French-speaking Canadians. The movie came out in Canada as the above mentioned “Love In A Four Letter World” and in the UK as “Sex Isn’t Sin.” The fact that not more people know this baby IS a sin!
Popsike cache of eBay sale 2008-07-20 (USD $79) review
Brilliant funky soundtrack for a Canadian B-movie from 1970. Tracks like “Cago 9” and “Cut-Out” have drum breaks that will tear your head off! There are two great soft rock vocal cuts, and a terrific moog led funky space jam called “Moog-Over.” This is a KILLER funk soundtrack. Don’t believe me? Check out the review at: http://www.italiansoundtracks.com/info/us/canada.html
1 Open Your Heart Now (Vera's Theme) 2 'Cago-9 3 Wake Up Candy 4 Susan's Ride 5 Sam's Theme 6 Harizap 7 Harry's Mission 8 Cut-Out 9 Felicia-Nova 10 Counting Up Dreams Again 11 Moog-Over 12 Vera's Theme
If "free" is one of your favourite 4-letter words then Soundological should be able to make you happy HERE or HERE.
The Winter Solstice marks the return of light to our lives and every culture celebrates it in a different manner. However you choose to do so, I wish you manifold blessings upon you, your friends and your family. My meager gift to you is music to remind you of the hope that comes with this turning of the tide.
1 Fat Freddys Drop - Hope 2 Cinematic Orchestra - Horizon 3 India.Irie - There's Hope 4 Nino Moschello - If You Believe (You Will Be Strong) 5 Adriana Evans - Hey Brother 6 Nesian Mystik - People 7 Ladybug Mecca - Show The World 8 DJ Shadow - This Time 9 Gnarls Barkley - Smiley Faces 10 Jhelisa - Freedom's Land 11 Aloe Blacc - I'm Beautiful 12 As One - Warm Reception 13 Nightmares On Wax - Soul Purpose 14 Build An Ark - Peace & Love
Been meaning to rip this since I pulled it out as a reference for the Robin Kenyatta post a while back because he played on this recording. Other illustrious contributors include session regulars Jimmy Godwin (Betty Davis), George Moreland (Isley Brothers), John Mosely (Isleys, Roy Ayers' Ubiquity), Daniel Ben Zebulon (Ubiquity, Stevie Wonder, Richie Havens, Labelle) and Earl McIntyre (Taj Mahal, Thad Jones, Norman Connnors, Gil Evans, Stevie Wonder and many more). (Note: Since originally posting found their compilation Truckin' at San Pasquale)
MySpace Bio There are arguably no continuously working groups more intertwined with American soul music. Like the "Funk Brothers" - the collective of musicians who played on all the recording sessions at Motown Records - the Midnight Movers made their mark behind the scenes, backing up, touring with, producing, and arranging many of the genre's most famous artists. You've heard the famous wah pedal guitar work of original member Charles "Skip" Pitts on Isaac Hayes' "Theme to Shaft," as well as Curtis Pope's signature horn lines on the Isley Brothers crossover hit, "It's Your Thing." The band produced legendary Stax vocal duo, Sam & Dave, and its members have recorded with countless groups in all the major centers of American Soul music--Detroit, New York, Memphis, and Muscle Shoals--receiving national acceptance in an era marked by distinct regional sounds.
The band is perhaps most famous, however, for its decades-long collaboration with "wicked" Wilson Pickett. It was on the road with Pickett that the band perfected its compelling stage show with high-stepping choreography, seamless medleys, and playful approach to performance. Wilson Pickett's famous song, "I'm a Midnight Mover" was the inspiration for the band's name--a name under which the band released two full-length records of their own--'Follow the Wind' (1974) and 'Do it in the Road' (1970). "Wilson Pickett and the Midnight Movers" perfomed all over the world until 1997, when the Movers struck out on their own. Since then, the Movers have continued to hone their reputation as the best live soul band in the world playing outdoor festivals, weddings, corporate events, and private engagements of all kinds.
Dusty Groove review One of THE psychedelic funk masterpieces of the early 70s -- a guitar-heavy set with a very fuzzed up feel -- one that's halfway between the work of Fugi and some of the best early sides on Westbound Records! But more than just guitar-heavy funk, Midnight Movers also have a fair bit of a groove -- a well-produced sound that's almost in the best funky Curtom mode of the early 70s -- with plenty of grit in the mix, but also a top shelf level of arrangements that brings the music into hiply sophisticated territory!
Bits of horns and keyboards are added in just the right doses to sweeten up the sound where needed -- but never in a way that loses the overall intensity of the groove. Titles include the great 2 part "Frankenstein meets Blackenstein", plus "Party (With Every Muscle in Your Body) (parts 1 & 2)", "Mississippi Foxhole", and "Follow The Wind"
Soul Strut review I have a 45 by the Midnight Movers, Unltd. that I liked a lot, so I was hoping their album would be more of the same. The album gets off to a good start with Follow The Wind that has a nice build-up. The rest of the first side however is party Funk that doesn’t quite work for me. There’s a nice vocal loop at the beginning of Lost For Words however. Every song on the second side has something from the powerful instrumentals Frankenstein Meets Blackenstein and Mississippi Foxhole, to the cover of Long Train Running. Even the mellow song Sacrifice has feeling. The instrumental parts in Flight To Freedom are also quite good.
Follow The Wind Parts I & II
George Patterson Jr. - Alto & Tenor Sax, Keyboards, Flute Curtis Pope - Trumpet, Flugelhorn, Harmonica, Vocals Bernard Wills - Vocals, Guitar Jack Philpot - Bari Sax, Organ, Percussion Raymond Patterson - Lead Guitar Blake Hinds - Electric Bass Dave Williams - Drums
1 Follow The Wind 2 Mystery Woman 3 Can't Stand The Heat 4 Lost For Words 5 Party (With Every Muscle In Your Body) Part I & II 6 Frankenstein MEETS Blackenstein 7 Mississippi Foxhole 8 Long Train Running (Without Love) 9 Sacrifice 10 Flight To Freedom
Unfortunately side two has seen better days but with so few quiet moments on this burner, it's not so noticeable overall. Hopefully you agree but if not, too bad - it's free! If it really bugs you, there are lots of copies to be found for as low as $5ish if you dig deep and wide enough. In the meantime, you can get winded by SoundologicalHERE or HERE.
All Kapuncle Up (Instrumental) JAY MITCHELL Another Time And Place 197?
82.7 MB 256+ VBR LAME mp3 Vinyl rip & scans from Elite ERS 1027
If you're a regular reader of this blog you're probably at least somewhat familiar with the Floridian-inspired sounds of the funky Bahamas like T-Connection, The Beginning Of The Endand maybe even Frank Penn's GBI stable thanks to last year's blazing Numero Group compilation Cult Cargo: Grand Bahama Goombay. On the latter, Mitchell was the centrepiece with his output making up 1/4 of the collection.
This Bahamanian behemoth of booty-shakin' beats and beautiful ballads is likely one of the best entertainers you've never heard of despite his huge following in the Caribbean and his stints with James Brown's band, Otis Redding, Aretha Franklin and the Jackson clan. He was actually signed to ol' Joe, lived with the family for a while and released at least one 12" on the Jackson vanity label (Look Before You Leave).
Who knows just how well-known he would have been on a world-wide scale if he hadn't succumbed to homesickness a couple times and headed back to the Bahamas at those crucial crossroads in his career. He continues to pack 'em in five nights a week and his stature in the country is such that his was the voice tapped to sing at Anna Nicole Smith'sNassau funeral along with one of her favourite country music singers, Joe Nichols.
For a full rundown on this amazing performer (and Reiki master to boot!), check out his bio at the Musicians & Entertainers of Bahama website, head over to Mackey Media (run by T-Connection guitarist Dave Mackey) for a 15-minute radio interview with the man himself or click on the link below to read the full version of the article excerpted.
Excerpts from Musical Entertainer, Jay Mitchell by Glenn C. Nairn originally published at What's On Bahamas in 2003.
One of his next career highlights came in 1967 when he visited one of New Providence‘s top nightclubs, The Cat and Fiddle, Nassau Street. There he impressed well-known businessman "Father Allen" (Olden Smith). Says he: "He (Father Allen) had a concert with Chuck Jackson and several other stateside artists…The Cat and Fiddle was jammed. But they (the performers) weren’t moving the people. I jumped on stage, grabbed the mike out of Chuck Jackson’s hand and started bugging. Everybody went crazy!
"Father Allen came and said, ‘Hey, young man, who are you?’ I said,’‘Jay Mitchell.’ He said, ‘I brought these people from all the way in the USA and they can’t move the people. And you jump up on the stage and drive those people crazy – I’m going to make you a star!"Indeed, Father Allen endeavoured to assist the young entertainer with his career by becoming his promoter and mentor.
Within that period, the young entertainer bowled over Aretha Franklin, "the Queen of Soul," when he did""I’m Black and I’m Proud" at a concert she headlined at the Queen Elizabeth Sports Centre.He accepted an invitation from her to perform at the Philharmonic in New York. At the Philharmonic, he met a number of other renown entertainers, including Sweet Inspiration, The Temptations, and The Four Tops. Although he enjoyed working with Franklin, he became homesick, as he missed his family.
Also, he wanted to return home because he felt his growth as an artist was in jeopardy; he feared he would sound like an impersonator of the artists whose songs he performed. "I was going to end up sounding like (a cross) between Arthur Conley, Ottis Redding, and James Brown – right between them, and I wasn’t going to be able to develop a style of my own. I always felt within me that I could use what is in me to bring out what I’ve learned from outside. So I wanted to join these (experiences) together and create my own."Now when you hear my mouth, you know it’s me…See, I didn’t have that identity. I sounded so much like James Brown, and I did the Joe Tex show with the microphone and stuff. I was not pleased with myself – although everybody else was."
About a year-and-a-half later he was back in Freeport, where he worked at a number of top local night spots, including Joker’s Wild, Rum Runners, The Sultan’s Tent, and his own nightclub, New Dimension...After a performance at The Sultan’s Tent, he was lauded by an associate of Michael Jackson’s father, Joe Jackson, an entertainment promoter. The associate, says Mitchell, was there with a group for some sort of celebrations.
He recalls that the associate told him he was certain Jackson would sign him on his label, as he was better than all seventeen of the persons whom Jackson was about to take on. Not taking the compliment seriously, Mitchell virtually ignored him. However, around that time, a Philadelphia promoter whom he had engaged submitted his recordings to Jackson who immediately signed him on.
Traveling to Los Angeles, he began a three-year stint under Jackson’s promotion, at which time he resided in the Jacksons’ home. Jackson and his family, including Michael, Jermaine, and their other siblings, treated him as if he were a part of the family. Reflecting on his memorable moments with the Jacksons, he recalls that Jackson once provided him with the opportunity to work with James Brown’s band, while Brown was incarcerated....And performed he did, stunning Bobby Bird the band’s director and others, especially because of his imitation of Brown’s famous dance.
Despite his success under Jackson’s direction, including the production of a CD "Jay Mitchell" produced by Jackson’s recording company (he has a number of other CDs, of which "Another Place and Time" and" "My Prayer" are perhaps the most popular), he again found himself wanting to leave the States. This time he wanted to leave because of intense media pressure; the media dogged him to ascertain the veracity of Latoya Jackson’s accusations against members of the Jackson clan.
Jay Mitchell +3 ca. mid-70s
Front L to R: Dennis Peterson, Joey Williams, Mark "Scab" Back L to R: Simeon Rolle, Jay Mitchell, Steven Rolle
A brilliant funky Bahamas record by the same Jay Mitchell who did “Spirits of Fire – Goom Rock” “Deep Heat” and “Your Mama Your Daddy Again.” Features the 7-minute, ultra-punchy “Yellow Bird (Disco)” and “The World Keeps Turning Round.” Stupendous, funky & hard to find.
Tracks 1, 3 Jay Mitchell - Vocals, Synth, Strings, Backing Vocals Mott - Guitar, Synth, Strings Charles Bethel - Bass Patrick Russell - Drums Aurdley Russell - Guitar Peter Francis - Piano Andrew Brennen - Tenor Sax Jarvas - Trumpet Portia - Backing Vocals
Tracks 2,4,6 Jay Mitchell - Vocals, Piano, Synth, Backing Vocals Dennis Peterson - Bass Joey Williams - Guitar Steve Rose - Drums Andrew Brennen - Horns Simon Rolle - Horns
Tracks 5,7,8 Jay Mitchell - Vocals, Piano, Synth, Horn Effect, Backing Vocals Mott - Guitar, Synth, Horn Effect Campbell (Savage) - Bass Brian Russell - Drums
1 Yellow Bird (Disco) 2 The World Keep Turning Round 3 Another Time And Place 4 All Kapuncle Up (Instrumental) 5 Strangers To The Night Dew 6 Am Sorry You Have To Go 7 I Thank God 8 Bush Medicine
Discography Can anyone out in the blogosphere help fill in these blanks? Any assistance with dates or other info on these sessions would be highly appreciated. If you've ripped any of these, we'd be grateful if you could share!
1972 Souvenir Of Freeport Bahamas (Bahamas Ministry of Tourism) incl. Tighter & Tighter and Mustang Sally
1974Your Mama Your Daddy Again(GBI) incl. Goombay Bump
1975Impartiality (GBI) incl. Funky Fever
197? Another Place And Time (Elite)
197? Spirits of Fire - Goom Rock (Freeport Sounds)
197? Deep Heat (JM)
198? Junka City (Junka Records)
1984 Junka Heat (Junka Records)
? 1990 Jay Mitchell (Gold Castle)
1999 Jay Is For Junkanoo (Mackey Media)
19?? Soft Touch (JM)
19?? Higher Ground (JM)
19?? Bahamian Roots (JM)
Don't count on easily finding a copy of this ultra-rare record in another time and place, Soundological recommends you grab it HERE and NOW.
Williams is probably best-known for his long stint with pianist Cedar Walton, but he's also played with many other famous jazz artists, including drummer Beaver Harris, flugelhornist Chuck Mangione, and singer Vanessa Rubin. Williams studied with Ron Carter while in his 20s. He worked with Harris in New York City and Mangione in Rochester, NY around 1969, and backed pop singer Roberta Flack in the early '70s. During the 70's Williams played with alto saxophonists Ornette Coleman and Charles McPherson, pianists Billy Taylor, Kenny Barron, and Duke Jordan, drummer Elvin Jones, and tenor saxophonists Archie Shepp and George Adams, among others. He played in the bands of alto saxophonist Art Pepper and trombonist Slide Hampton in the '80s, and also worked with trumpeter Woody Shaw. He began playing with Walton around 1983; thereafter he was a member of Walton's various bands, often forming a rhythm section with Billy Higgins before the drummer's death in 2001. Williams played on Vanessa Rubin's 2001 release, Girl Talk, and on Manhattan Transfer vocalist Janis Siegel's 2002 album, I Wish You Love. Walton also played on both albums.
74.5 MB 256+ VBR LAME mp3 Vinyl rip & scans from CBS CS 9680
A while back never enough rhodes featured the soundtrack to Shaft's Big Score and it reminded me how good the old albums by O.C. Smith, who sings a couple tracks on the OST, really were. After spinning them a couple times to much enjoyment I threw them in the I'll-get-around-to-ripping-these-eventually pile and, prompted by dusty-fingered don Doctor Okeh diggin' into his deep crates for a dope double post featuring At Home with Love Is Foreverthis week, it seems "eventually" is now.
Although the sessions musicians aren't credited anywhere, the man most responsible for the sweet sounds within the grooves is H.B. Barnum, who is likely one of the most under-appreciated personalities in the entertainment industry. That tag's been used often but if you're not sure of the man's accomplishments, starting as a child actor on radio in the 40s with The Jack Benny Show and Amos 'n' Andy continuing on up to the present day, then follow the link and learn how familiar you already are with his work.
This summer I watched with great pleasure as Barnum led Aretha Franklin's band for her stint at the Montreal Jazz Fest and he looked a helluva lot younger and much more energetic than you would expect for having 78 years under his belt. Hickory Holler Revisted was recorded around the time he was helping David Axelrod develop his unique sound and you can hear the same sort of musical sensibilitiy here, especially on "Main Street Mission," which he co-wrote with album producer Jerry Fuller.
As for O.C. himself, here's some background info and an album review courtesy of All Music Guide:
AMG Bio by Ron Wynn O.C. Smith began as a jazz vocalist and later moved into country and R&B. The Louisiana vocalist was hired to replace Joe Williams in Count Basie's band in the early '60s after cutting some unsuccessful records for Cadence and others in the '50s. He sang with Basie's band from 1961 to 1963. Following a period where he sang country and even had a hit with "Son of Hickory Holler's Tramp," Smith moved into soul. His biggest hit was "Little Green Apples," which was number two on both the pop and R&B charts in 1968. His other big R&B single was "Daddy's Little Man," which reached number nine in 1969.
Smith stayed on Columbia until 1974, but didn't score any more big records. He moved to Caribou in 1976 and recorded later for Shadybrook, Family, Motown, and Rendezvous. In 1985 he began to balance his work in the recording studio with his new passion for Christian ministry, but despite the fact that he founded his own church in Los Angeles, The City of Angels Church of Religious Science, he continued to perform and record until the time of his death on November 23, 2001.
AMG Review by Wade Kergan Already a successful jazz vocalist , O.C. Smith crossed over into the pop market when "Little Green Apples" became a hit in 1968; reaching the number two spot on both the Billboard pop and R&B charts, its relaxed pace set the mood for his second solo album, Hickory Holler Revisited. Easily his most popular release, several other songs from the album made the R&B charts, including "Honey (I Miss You)," "Isn't It Lonely Together," and the definitive country-soul of "The Son of Hickory Holler's Tramp."
The Son Of Hickory Holler's Tramp
Main Street Mission
1 The Son Of Hickory Holler's Tramp 2 Sitting On The Dock Of Bay 3 Main Street Mission 4 By The Time I Get To Phoenix 5 Long Black Limousine 6 The House Next Door 7 Little Green Apples 8 Take Time To Know Her 9 Honey (I Miss You) 10 The Best Man 11 Seven Days
Reissued on a single budget-priced CD with For Once In My Lifea few years back, there are plenty of affordable copies of this OOP vinyl on the intertubes - even an autographed copy is available at a reasonable rate. However, you can quickly catch this killer country-soul set from SoundologicalHERE or HERE.
BJÖRN J:SON LINDH Från Storstad Till Grodspad 1971
96.7 MB 320 CBR LAME mp3 Vinyl (?) rip & scans from SR RELP 1135
It's not common practice to post rips from other sources here but the previous Lindh post (Cous Cous) has proven extremely popular. Now that Smooth at MyJazzWorld has fleshed out some of BJL's discography in the last few days, extra links have been added to the list as a result. However, this debut effort doesn't seem to have popped up yet so I thought I'd post this HiQ version originally upped on PirateBay by user Knaverlisa in a torrent collecting Lindh's 70s albums. Both the torrent and user have long ago walked the plank, so dropping it here to fill in the blanks for all those funky flute fiends who frequent Soundological.
Från Storstad Till Grodspad (which according to Google Translate means From Metro For Frog Brick thus making even less sense to those of us who speak English) fits more into the fusion à la prog file and is considerably more experimental than his later works. This comes through clearly on the first track which takes up the whole of side one - especially the second half of same, which some tasteful cat put up on YT this summer. Listen below, it's a SERIOUSLY dope piece and the excerpt kicks in just as the track moves out of the cinematic build-up and into the meat around the ten-minute mark. This segment alone has made it one of my favourite Lindh albums and puts it in the category of "must have," at least as far as his career is concerned.
Musik Från En Storstad (excerpt)
Side two sounds like it could be incidental music for film or TV and varies from minimalist free form improv ("Stäng Locket Hon Fryser") to Swedish sex romp silliness ("Tom Bohla") and spaced-out pop rock ("Biezlov" & "I Grodspadet"). Don't worry, he doesn't forsake the funk which stays up front on "Grytnäs Sväller" as well as being sprinkled throughout the first side. There's a load of musicians involved across the multiple recording session, including longtime collaborator Janne Schaffer on guitar. Soundological would love to provide more info on the proceedings but Swedish ain't our strong suit so any native speakers who can help us in the comments would be doing us a solid (update 2009/01/05 - a kind reader who wishes to remain anonymous sent a translation which I have posted in the comments).
Björn J:son Lindh - Piano, Organ, Flute Hawkey Franzén - Guitar, Accordion, Vocals Anders Nordh - Guitar, Vocals Janne Schaffer - Guitar Kenny Håkansson - Guitar Rune Gustafsson - Guitar Bengt Linnarsson - Bass Georg Wadenius - Bass Palle Danielsson - Bass Bobo Stenson - Electric Piano Ola Brunkert - Drums Rune Carlsson - Drums Jan Bandel - Drums Janne Carlsson - Drums Kofi Ayivor - Congas Bengt Olsson - Horn Bengt Sundberg - Horn Bernth Gustavsson - Trumpet Bertil Lövgren - Trombone Jörgen Johansson - Trombone Nisse Sandström - Sax Lars-Erik Rönn - Oboe Lucas Lindholm - Bass Mats Hagström - Cello Göran Lagerberg - Vocals Karin Stigmark - Vocals
1 Musik Från En Storstad 2 Tom Bohla 1971 3 Grytnäs Sväller 4 Biezlov 5 Den Dansande Wollmar 6 I Grodspadet 7 Stäng Locket Hon Fryser 8 Tom Bohla 1972
Pick up your frog brick from SoundologicalHERE or HERE.
EL CHICANO The Best Of Everything 1975 256+ VBR LAME mp3 Vinyl rip & scans from MCA-437
This is the second-to-last album EL Chicano recorded for MCA and, despite the name, it's not a compilation of hits. Here's the story behind the title as told by singer Jerry Salas on his website:
A song "The Best of Everything" was submitted to us that we liked and had desided to use as the theme. We didn't want our fans to think it was "A Best of" album that's why we used the mansion, chauffer and period cloths.
Although not as strong as their first four LPs, there are moments that make it worth snapping up, especially the instrumentals "Follow The Apollo" and "Zaire" - the latter being a smokin' seven-minute Santana-esque percussive jam with some screaming organ on the side. Their version of the hippie anthem "Love The One You're With" is passable while the title track sounds more like the Doobie Brothers than was probably intended. "One More Night (Audi)" ain't a bad pop song although it's pretty standard mid-70s AM fare, which could be said for most of the tracks.
No new ground broken here and you can't help but notice the lack of cohesiveness that's foreshadowed in the liner notes with all the personnel changes. It sums up to a somewhat hit-and-miss affair which was likely compounded by the fact the band started spreading itself a bit thin during this period in an attempt to appeal to its widening fan base cultivated by touring the globe extensively.
One More Night
Jerry Salas - Guitar, Vocals Michael "Mickey" Lespron - Guitar Bobby Espinosa - Keyboards, Vocals Joe Perreira - Bass (3,5,6,7,9,10) Brian Magness - Bass (1,2,4,8) Enrique "Andre" Baéza - Congas, Bongos, Percussion Johnny DeLuna - Drums John Raines - Drums (5,7) Hector "Rudy" Regalado - Timbales, Percussion Steve Dorf - Piano (7) Lenny Roberts - Piano (5)
1 You Can Have The Best Of Everything 2 One More Night (Audi) 3 Put On A Show 4 I Want You To Know 5 Might As Well 6 Follow The Apollo 7 Bringing Me Home 8 Love The One You're With 9 Zaire 10 Primavera
Discography Some of these are not blogged anywhere so have provided versions obtained from slsk over the years. They're not my rips and are indicated by a bit-rate listed after the title. Most of the MCA releases are available for purchase as digital download directly from the band's website El Chicano Music.